An Italian silvered-metal-mounted tortoiseshell and ivory inlaid fruitwood and kingwood marquetry casket, attributed to Pietro Piffetti, Turin, circa 1740

the hinged top opening to reveal an original mirror plate in a silvered metal border above a fitted interior, the right hand side lifting to reveal a concealed silk-lined drawer

In overall reasonable condition. The top with a number of restored minor age cracks notably to the tortoiseshell veneer. The hinged top with a minor inverted warp and so does not sit flush against the base. The escutcheon is lacking from the front. The mirror plate to the interior is tarnished and has large areas of silvering. The sliding return is in good working order. With old marks and scuffs commensurate with age and use.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Related Literature:

G. Ferraris, Pietro Piffetti e gli ebanisti a Torino 1670-1830, ed. by Alvar González-Palacios, Turin, 1992

This attractive fitted casket epitomises the high standards reached in the art of cabinet-making at the Court of Savoy in the 18th century. The decorative language of its marquetry shares many characteristics with recorded, or attributed, works by the Royal cabinet-maker Pietro Piffetti (1700-1777), who would often employ a similar combination of strapwork patterns made of fruitwood bands with ivory fillets. 

In this particular instance, the attribution rests on the striking similarity between the casket and a pair of commodes firmly ascribed to Piffetti by Giancarlo Ferraris and Alvar González-Palacios, one of which sold Christie's London, 13 June 2002, lot 472, the other offered Sotheby's London, 6 July 2016, lot 21. There can be little doubt that the three pieces are by one and the same hand, and were plausibly part of a same commission. 

Other boxes by or attributed to Pietro Piffetti include a signed dressing table casket bearing similar amorini sold Sotheby's London, 13 June 2001, lot 256a, and one other sold Christie's London, 27 June 2007, lot 256. For a further similar casket see Sotheby’s London, 6 July 2010, lot 10.